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This weekly course covers the most common questions videographers encounter when shooting and editing with DSLR cameras, from choosing a frame size and frame rate to understanding moiré. Authors Rich Harrington and Robbie Carman will also help you understand the impacts of compression and the difference between cropped (or micro 4/3rds) and full-sized sensors in cameras, and much more. This continual FAQ guide is a handy way to find the answers to the questions that plague you the most.
Rich: We're back into the studio, and let's take a look at some of the footage we got. We, we purposely shot it, I don't want to say wrong, but we shot it in different ways, where we didn't have the extra lights, and then we did. And what are we looking at in this first shot here, Rob? Robbie: An ugly shot. I mean, this was just kind of, we turned all the room lights on, you know in, in the location we're at. Rich: Yeah. Robbie: And it just doesn't look all that great. It's too much, it's not, it's not dramatic at all. It doesn't have any sort of character It's a little green because of the fluorescent overheads, that kind of stuff. Rich: These are the overhead fluorescent shop lights.
Robbie: Yep. Rich: And it, it has that nice, I don't know, industrial video sort of look. Robbie: It does yeah, and I mean, it just doesn't look all that great. The windows are a little blown out, he just has a weird parlor to him. Yeah, it's not great. Rich: So the next shot here, we turn those lights off and we exposed for the outdoors. So, I, I must say the, the outside looks great. Robbie: Yeah, the window looks fantastic. I can see all those, you know, trees or bushes back there. Whatever they are. And those are great but there's, I think there's something wrong with him. Rich: Yeah.
He's, he's a little dark. Robbie: Yeah. Rich: So, we kind of, you know, we were looking at that and we, we split the difference here and You know, this is sort of what I would call the ugly middle. If you don't have an option, and you don't have lights and you just had to say. Look I have to get the shot, I've got no additional lighting. No electrical outlets. I have no choice. This is where I would shoot it. The exposure for the window is a little bright, but recoverable. And he's a little dark, but lift-able. I'm going to say Rob, you could probably fix this shot if you had to.
Robbie: Yeah. Absolutely. This is, this is usable for sure. What I'll, probably what I'll do, and I think we'll show this in a, in later episode, is that it probably bringing this into a, a dedicated color correction tool where I have masking capability. And probably do a shape or a window around him. Lift him up a little bit so he's not crushed and he's not so lost in shadow there. Maybe fix that cycling color cast to him, so yeah I think we can definitely get that shot looking a little better. Rich: But we are more fans of getting it right, and wow! The addition of 2 lights! Robbie: Let there be light! Yeah. No, and this works great. I mean, obviously what we did there was we added some fill lights on him. Right? Rich: Yeah.
Robbie: Not overpowering, but just some fill lights. And this is one of those things too, I think people get lost sometimes. When you need to put fill light into a shot like this Look at it and be a little careful. One of the things that bothers me a touch about this shot is that even though it looks much better, you might argue that the fill lights were a little too close to him. You'll notice on his forehead and, you know on that side of things it's just a little bit more direct light and just be careful about that. I think it's totally passable, totally usable, but we might have just backed off another foot or so and we might bring that down later on when we're color correcting and working with that in in post production.
Rich: Yeah, he's looking pretty good there. I, I think that overall worked. Here it is lit from a different angle. Robbie: Yep. Rich: I really like how these angles are looking there. Robbie: Yeah. Rich: The light's very attractive. We've got a good balance. I would say his hair has gone a tad dark, but all of this is easily recoverable. And we were purposefully shooting I wouldn't say. Running gun, but I, I would call this almost a shotgun wedding. I was, I'll be honest, I was like okay, you have 15 minutes. We're shooting in 15 minutes. Robbie: Whip-crack, is what Rich was doing, yes. Rich: And that's because we had a lot of ground to cover, but that is the reality of production.
Sometimes you only have so much time. Robbie: Yeah, and we, no we talked about this in previous episodes as well. I mean the thing, you call it the ugly middle, I'm calling it the safe bet. You know it's one of those things where you know, you don't want things to be over exposed, unexposed like some of those you know, real bad examples that we showed you. But if you have it in a usable place, the tools that we have in post productions now for color. And for finishing and that kind of stuff, are so powerful that we can do a lot of that. But I think the, you know, that, that's particularly usable. And I think the next shot that we got where we actually did some fill light, even better. And we have a nice exposure, and a lot of room to work with.
Rich: I think we've done a really good job of taking a look at the production side of things. Hopefully you see the benefits of using the lights, and how you can make the shot work better. What I'd like to do Rob, and I'm going to hand it off to you here a second. Robbie: Mm-hm. Rich: Is I think you should take this into a dedicated tool so, on our next week episode, we're going to explore some post-production solutions, and I really want you to see how lighting is a mixture of using things both in the field and in the edit suite and how you could find that proper middle ground
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